minh k. ledao architectural portfolio b.arch 2013

currently finishing my last year at the university of oregon with a bachelors of architecture. you can contact me for more information at minhkhoa@uoregon.edu.

minh k. ledao
archit e c t u r a l
por t f ol i o.
b.
a r c h
2 0 1 3
introduction
the architecture that i find most intriguing is the kind that
responds to time, place, people, and the environment in a
meaningful way. my approach to architecture and everything
else i do, i try to continuously grow and to be conscious of
all the things around me. through architecture, i am given the
opportunity to understand the world in a profound way.
â&#x20AC;&#x153;i learned that everything in life is fully integrated and that
one should attempt to do everything as well as one can,
that the pride and joy of work is not in its position on the
scale of social importance, but in ones personal respect
for their work.â&#x20AC;?
- juhani pallasmaa
the works in this portfolio are examples of my understanding
of architecture. these pieces best depict the distinct character
of my designs and their intentions. as you will see throughout
this portfolio, the approach, the style, the colors, the textures,
and the architecture change frequently. with each project, a
new problem or situation occurs and follows a new response
or design.
each piece of work is a different attempt at understanding
architecture. these architectural works are arranged in order
of time.
table of contents
four | a boat house
ten | a museum for the tiber river
sixteen | the creation of art
twenty four | a memorial garden and mausoleum
thirty two | the pattern box
thirty six | stormwater education project
forty | a cultural landscape
forty four | the miller hull partnership internship
fifty | resume
fifty one | contact
project |
the boat house
time |
spring, 2009
location |
lowell, oregon
main Ideas |
experiential drawings
connection to water
public space for the community
blending of indoor and outdoor space
description |
a design for the rowing community for the town of lowell,
oregon. the site is located along dexter lake. the main clients
are the rowing community as well as the university of oregon
crew team. the design focuses on specific function of rowing,
as well as creating a structure that sits lightly across the
landscape. a design that does not obstruct the land, but
emhpasizes its beauty for all to experience.
media |
hand sketching, ink, pencil, pastel, charcoal, prisma,
photography, photoshop
model |
wood, hand modeled
professor: |
melinda nettles
[RIGHT] this conceptual drawing was the inceptive idea of the
design. it is a view from across dexter lake that i sketched on
site. the drawing was inspired by alberto kalachâ&#x20AC;&#x2122;s sketches.
this sketch shows how the pieces of the boat house nestled
into the dense landscape. the forms are broken up to impact
the land less. the main thought of the design is to provide a
clear movement down to the dock for individuals to engage
the water.
four | five
the main function of the project was based on the sport of
rowing. this facility is meant to serve the entire local rowing
community as well as the row team at the university of
oregon. though the clients are the rowers, there was a strong
consideration towards the public who visited the site to enjoy
the beauty of dexter lake in lowell. the design took both groups
into account.
the design fully supports the act of rowing, meanwhile creating
comfortable spaces that interact with the beautiful landscape
around it. from separating the built forms the outdoor spaces
were created and became just as important as the architecture
itself. the siting of the structure in the landscape was very
important, blending as much as possible the boundaries
between the two until it felt like nothing separated them.
another key focus was connecting people to the lake in a
meaningful way. this was important as a pragmatic function for
the rowers. meanwhile, creating a clear connection to the water
for visitors, facilitating a relationship between the individual, the
architecture, and the water.
[LEFT] this conceptual piece shows the experience emerging
out of the boat house to the dock. the space is dark and
illuminated by light from the opening, the crew member picks
up a boat and lifts it high over their head. they step into the light
and as the beautiful landscape overtakes them for a second,
they begins to approach the water.
[RIGHT] the main club house for the crew team. the form sits
on stilts on the land, creating as small of a footprint as possible
and subtly extends over the lake. it is tucked deep into the
landscape and the deciduous and evergreen trees seem to
enwrap and overgrow the structure.
the design informed me to work intimately with the landscape. i
began to understand to use the land as a tool to create a deep
interlock with the building. by doing so, and understanding
where to situate the forms in relation to its site, the design
begins to unfold itself. rooms begin forming around existing
trees and corriders come alive by the canopies.
programmatically, i learned that by combining different users
and clients, it creates a much richer piece of architecture. the
design turns into a place that serves a multitude of purposes
and people, and becomes filled with life. i come to understand
that all of these pieces become the layers of good architecture.
â&#x20AC;&#x153;in order to design buildings with a sensuous connection to
life one must think in a way that goes far beyond form and
construction.â&#x20AC;?
- peter zumthor
[LEFT & RIGHT] this model built by hand, shows half of the
design for the boat house. the goal was to create a constant
connection to the natural landscape in every room you
inhabited. the play of open spaces and corridors that are
bounded by rows of trees creates a variety of outdoor rooms
that are not technically in the program, but deeply connect the
building to its surroundings.
project |
a mesuem for the tiber river
time |
fall, 2010
location |
rome, italy
main Ideas |
urban renewal
historic renovation
history of the tiber river
contemporary response
description: |
a historical museum for the tiber river, located on the tiber
island in rome. this design strived to showcase the tiber
river and its history, as well as to revitalize the tiber island
with activity. continuity is vital to this design. the museum
acknowledges its site. the form is situated so it does not
disturb the existing buildings; it instead accommodates the
existing mound form of the island near the ponte garibaldi.
media |
hand sketching, ink, pencil, pastel, prisma, photography,
autocad, sketch-up, idx-renditioner, photoshop, illustrator
model |
acrylic, wood, museum board, laser cut model
professor |
james tice
[RIGHT] conceptual drawing of the museum with the design
imbedded into the tiber island. this design is meant to activate
the island, and persuade people to inhabit the island. by
introducing a bold form in a vital location, it becomes a focal
point of the island. the museum showcases the entire island
as a piece of art,
ten | eleven
[LEFT] this is a conceptual site map overlaying various historical maps
showing different patterns, paths and forms of the city overtime and
how they have transformed, and also how they survived. by studying
the maps of nolli, piranesi, and other historians, you learn how deep
and intricate the fabric of the city is.
[ABOVE] perspective of one of the main gallery space. the simple
materials of the architecture become a backdrop for the history of the
tiber river. the travertine walls display the art pieces, and the exterior
facade of the museum displays the tiber river and the rest of the rome.
the architecture displays the museum as an art piece in itself.
â&#x20AC;&#x153;revitalizing the island through art and architecture causes the
museum to grow out from its interior, from the boundaries of
its site towards the surrounding areas, above and beyond all
perceived limits.â&#x20AC;?
- tadao ando
the design engages each side of the tiber river, as well as the
ponte garibaldi. the ponte garibaldi provides the finest view of
the entire island and of the museum. the form is situated so it
does not disturb the existing buildings; it instead accommodates them. the entry guides one along and through the existing ospedale fatebenefratelli before entering the museum. this
gesture is meant to engage visitors with the existing historic
forms before entering the new museum. this gives the visitor the
feeling that they are literally moving through the island, as if they
were walking through the underground ruins of the island and
emerge into the light of the new gallery spaces.
lastly, the museums intent is to illuminate. the desire of this design is not to intervene, it is to highlight and accentuate the
beauty of the tiber river and the tiber island.
[LEFT] this conceptual sketch shows the bold form that is embedded into the island. the museum literally takes the form the
tiber island and acknowledges its site.
[RIGHT] the model shows the repetative structural system, as
well as the varying gallery spaces. the materials used are meant
to support visible activity of the museum. the planning of the
gallery bays provide simple wayfinding as well as a direct connection to the tiber river.
project |
the creation of art
time |
spring, 2011
location |
vancouver, british columbia
main Ideas |
building 55
industrial design
urban design
program design
study abroad
description: |
during my studies abroad at emily carr university of art +
design, i developed a scheme of performance spaces along
railspur alley. the site is located on granville island in vancouver,
bc., known to have some of the greatest public spaces in the
world. along with the various performance spaces, i designed
rooms with lofts for various artists to be able to practice,
perform, and produce their work. this was a gesture to deeply
connect to granville islandâ&#x20AC;&#x2122;s artistic and creative character as
well as its history of industry.
media |
softimage, autocad, photoshop, illustrator
model |
white plastic, acrylic, spalted maple, hand milled/cut
professor |
stephen duff
media professor |
thomas groppi
sixteen | seveteen
[RIGHT] final model. consisting of spalted maple donated from
a local timber craftsman from granville island. this model shows
composition of form, as well as contrasts and hierarchy of solids
and voids.
Anderson Street
1
11
2
4
5
3
6
5
8
Cartwright Street
4
7
Railspur Alley
3
11
9 10
upper floors
ground floors
1
2
Cartwright Street
Old Bridge Street
[ABOVE] the new entry of railspur alley. the new design incorporates
a large restaurant at the corner of the site with high visibility to visually
engage visitors coming in. the visibility through the form allows visitors
a glimpse into the central courtyard as well as the main performance
space. the aesthetics of the architecture are referncing the industrial
vernacular of the site.
this design is meant to reinforce the urban fabric of the island.
the proposal of the granville island committee was to redesign
two possible existing buildings. these buildings were referred to
as building 35 and 55.
for the studio, i decided to repurpose the site of building 55. the
building was condemned and was proposed to be torned down
by the granville islands planning committee. we were asked to
design a program for the large sites. the urban design challange
was to create another anchor of activity between the incredibly
active public market and emily carr university of art + design.
these institutions are very active during the day, but as soon as
the sun sets, the life of granville island dramatically changes.
granville islandâ&#x20AC;&#x2122;s industrial manufacturing history and its deep
artistic character were vital parts of the planning of the program
and the design. the new building 55 incorporates a performance
spaces of various sizes, ranging from a large performance
theatre to smaller music venues scattered throughout the site.
along with these performance spaces are five artists lofts, to
provide space for the artist to produce or practice their art,
meanwhile having a floor space to create capital. the program
is meant to facilitate the performance and production of art.
along with the various functional pieces of the program, there
are interstitial places for the public. courtyards, gardens, and a
public art pavillion provide active gathering spaces for artists
and visitors, simultaneously deeply interlocking the entire built
forms together.
â&#x20AC;&#x153;architecture is the masterly, correct and magnificent play of
masses brought together in light.â&#x20AC;?
- le corbusier
[RIGHT] the main entrance to the large performance theatre,
as well as the entry to the art gallerypavillion. the view is
taken from the courtyard that sits enclosed between the
various built structures. the courtyard is activated from every
edge from the bounding buildings, making it a strong public
center.
to design in a city so full of life and energy as vancouver b.c., is
invigorating. the spirit of the city nourishes the creative mind. i
learned a great deal from the city and through the program at
emily carr univerity of art + design.
studying abroad taught me that inspiration for design can be
found anywhere. the opportunity to live in a city and design
there is a wonderful thing. to interact with the city, the site, and
the people that inhabit the place every single day was the most
exciting part. the project stems directly from the interactions
and connections with the various community members, artists
and craftsman of the island. the best way for a rich design to
unfold, is to have the true spirit of the place, assist it.
in the end, i understood that meaningful architecture comes
from the collaboration of many minds.
[LEFT] the public art pavillion that is enclosed by the adjacent
buildings. this is one of the most important components of
the design, as it connects the main courtyard to the sculpture
garden at the other end of the site. this corridor is made to
feel like an alley-way, open to above. this allows every piece
of the builts forms to be a part of the performance of art, and
promotes interaction throughout the site.
project |
a memorial garden + mausoleum
time |
fall, 2011
location |
portland, oregon
main Ideas |
spiritual design
urban density
experiential design
hybrid media
description: |
a memorial garden and mausoleum for the heart of downtown
portland. located adjacent across the south park blocks,
adjacent to the arlene schnitzer concert hall, and the portland
art museum. the goal of the design is to create a spiritual
place for all to experience, and to cleanse the negative
connotation of death. with the use of various gardens and the
architecture to create a place of peace and healing.
media |
ink, pencil, pastel, prisma, oil paint, photography, autocad,
sketch-up, idx-renditioner, photoshop, illustrator
model |
acrylic, paint, matte boad, led lights, laser cut model
professor: |
james givens
[RIGHT] a view of the mausoleum from the south park blocks.
the building acts as a backdrop for the vibrant colors of the
memorial rose garden. the garden is a gesture and gift to the
heart of downtown portland.
twenty four | twenty five
basement - columbaria
ground floor
upper floors
[RIGHT] photo of physical model. the main corridor that leads
from the memorial rose garden, to the private courtyard
garden. the entry to the chapel as well as the contemplation
room are also through this main corrider. this model shows the
experience of the ambient light from above and the deep light
penetrating the space from the courtyard.
[NEXT PAGE] photo of a room/light study model. this view of
the columbaria illustrates the intimate relationship of the material detail and light.
the main focus of the design was shaping the main room, which
was the garden. it wraps the entire building, providing a gift for
all visitors to use. the building is still, and acts as a canvas for
the roses to illuminate with color.
as one moves into the building, their perception of the world
changes as the noise from the city dulls. the light of the city
is no longer apparent. it is dim, only a few openings of light
are present now. the light from the high ceilling above, and the
light ahead. as they ascend forward, they can feel time slowing.
calmness overtakes them as they make the steps towards the
well lit room, and reach the garden of contemplation. the garden
is much smaller than the other, this garden seems like a secret,
and now the city seems distant. the person feels as if they are
in another place and finds peace within the slate walls.the walls
have an intricate pattern of slate that creates a play of light the
with diffrent aperatures of the facade.
the design of the mausoleum is meant to be a place for all to
experience. whether the person is mourning for a loved, or
coming to contemplate the day. a place can be spiritual without
being religious. with the architecture, the intricate play of light,
the calmness of material, and powerful spatial transitions, this
place becomes a space of transformation.
[LEFT] various views of the mausoleum in its context in portland.
this study focused on the different appraoches to the building,
and determining the correct proportions and scale of the
mausoleum.
[RIGHT] view of the grand entry of the mausoleum from the
south park blocks.
project |
the pattern box
time |
summer, 2011
location |
new york, new york
main Ideas |
simplicity
parametrics/kinetics
description |
an entry for the anonymous.d architectural competition. the
location of the competition is located under the highline bridge
in new york city. anonymous.d called for designers to renovate
the space ‘under the bridge’, a forgotten space. the site is
nestled between two existing art galleries, and the competition
proposed for a public art pavillion. the space needed to be
simple, buildable, and kept within a budget of $20,000.00.
the competition asked for an alterable or parametric design.
the ‘pattern box’, seeks to accomplish as much as possible
with as little physical intervention as necessary, to both the
immediate site and the environment.
media |
hand sketching, sketch up, autocad, photography, photoshop
model |
wood, steel, laser cut steel frame
team |
william smith
dustin locke
results |
[RIGHT] the model shows the simple components of the
design. the steel frame, and the 6 x 6 in wood that make up the
pattern box. the design consists of standard dimension 12’ long
6 x 6 in lumber which can be re-purposed for the future after
the life of the project.
thirty two | thirty three
shortlist finalist
[EXCERPT FROM THE COMPETITION ENTRY]
proposed by this competition was a need to heighten the
experience of the public, the exhibited art, and the context of
the new york highline project for the marianne boesky gallery.
in this scheme four pursuits became apparent as its process
developed. [FIRST] to connect the highline’s ‘above’ and its
’below’ spaces. this is achieved through the use of predominantly
organic matter in relation to the growth of the vegetation of the
park from above. in this case, the lumber, structured in a way
that the cumulative form may change, grow and contract as
a natural element. [SECOND] to allow this form to be literally
alterable, so that it speaks not only poetically but functionally
as well, towards the purpose of an exhibition space. in this
way the pattern box becomes a backdrop to the exhibition,
acting as a wall, hallway, shelf, bench, amphitheatre, or as an
integrated part of the sculpture/performance itself. the pattern
box becomes whatever suits the situation. [THIRD] to use this
transormation of form as a means to alter the atmosphere of
the place itself, ranging from circulation, to lgiht, acoustic quality
and social variety. [FOURTH] and most important, to achieve
all of this with as little damage to the environment as possible,
seeking a cradle to cradle attitude over the one use alternative.
rather than using customized sizes, the specficied wood is a
standard dimensioned 12’ long 6 x 6 in lumber that can be repurposed fot future use.
[LEFT] photos of the physical model. the beauty of this project
comes from hand-crafting the model, and finding the various
type of spaces that we could create from a pair of boxes. the
1/8 in steel was laser cut at a local steel fabricator. with the
pattern box there are endless ways to shape the space ‘under
the bridge’, all it needs is for the creative minds of the artists to
manipulate it as they please.
[ABOVE] this is a rendered perspective of the pattern box under
the bridge. the design allows for various shapes and form
to accommodate the users as well as the art. while being a
functioning gallery space, the pattern box acts as a sculpture in
itself, with an industrial feel indentifying with the steel structure
of the highline bridge.
project |
designbridge stormwater demonstration
time |
fall, 2011 - spring, 2012
location |
springfield, oregon
main Ideas |
design/build
sci - sustainable cities initiative - city of springfield
springfield school district
group design
description |
a year long design/build project with the university of
oregons designBridge organization. this organization is a
multi-disciplinary student group linking the students with the
surrounding community by offering design and design-build
services to local organizations that donâ&#x20AC;&#x2122;t have resources
to acquire professional design services. the project is a
education/demonstration project of stormwater with the city
of springfield.
materials |
steel, concrete, timber, native plants
model |
wood, steel, laser cut steel frame
status |
awaiting construction
professor |
juli brode
consultants |
jacob mckay - hoffman construction
howard davis
brook muller
[LEFT] looking into the rain garden to the main structure that
sits between an existing community center and the two rivers
elementary school in springfield. this photo of the model shows
the main components of the project, the permeable path, the
water feature centerpiece, the structure, the educational components, and the rain garden.
thirty six | thirty seven
[THE SITE] adjacent to a new elementary school that
[THE CLIENT] there were frequent meetings with the
[THE DESIGN] consists of four components; a path, a
[FULL SCALE MOCK UP] we constructed a full strctural
will open the following year. the two rivers elementary
client, consultants, professors, and the community.
water feature, a steel structure, and a rain garden. the
bay of the design to present to the clients, construction
school and school board volunteered their site to sci
with the involvement with so many individuals and
intent is to present water in a beautiful way. a space to
consultants, professors, and peers for our final review.
and designbridge for the stormwater demonstration
organizations, the project became very rich with interest.
gather and visually connect with the water as it moves
project. we believed that this site would create a deep
during the fall and winter terms, we designed vigourosly
to the garden. stormwater is important to the city
currently we are awaiting city approval to begin
community investment with the project.
and prepared for structural permit submittals.
of springfield because its the source of 90% of their
construction.
drinking water.
project |
a cultural landscape
time |
september, 2012 - november, 2012
location |
detroit, michigan
main Ideas |
bottom up design
cultural design
parametrics
public use of private space
design + build
client |
beau bien - fine foods
description |
public space in the united states is inherently overlapping with
private ownership. the occupy wall street movement occurring
in zucotti square demonstrated the impact of private/public
relationships that blur the boundaries of political control. as
we consider a design method of public space that seeks to
build a framework for participation, embracing systems design
that acknowledge external conditions and calibrating material
interface that supports this affect is helpful to create an openendedness that lends itself to local identity. furthermore, the
openness of private owners to acknowledge local participation
and identity over time, provides a value that breaks traditional
notions of functional use of architecture.
media |
rhinoceros3d, rhinocam, grasshopper, vray, photoshop,
illustrator, autocad, 3-axis cnc router
forty | forty one
model |
black american walnut, birdseye maple, concrete, plaster
professor |
philip speranza
once
a
module
is
established, how do you
find a compelling field?
FIELD CONDITIONS
i found that there was something unexpectedly beautiful about
meeting an individual from a place i did not know, and learning
the culture through them.
FIELD CONDITION REGULATED BY LINES
i began to interview people when i visited detroit, and recorded
their stories, hopes, and beliefs. these individuals became the
architecture, and gave richness to the project. this proposal
allowed for the community to feel invested in urban changes.
FULL FIELD CONDITION
[ABOVE] my proposal to create a cultural landscape was to
literally embed the identity of detroit and its community within
the architecture. this cultural landscape would become an
urban amphitheatre for the community square, adacent to
the proposed organic foods market. i believed to embed the
culture of detroit with the architectureit could become a resilient
framework. with this framework, i wanted to use the program of
light and projection to create a dynamic and adaptable medium
for the public to participate and interface with.
VERTICAL FIELD CONDITION
a lateral field condition.
HORIZONTAL FIELD CONDITION
a vertical field condition.
INTIMATE
AMPHITHEATRE
GROUP
SPECTATOR
a cultural landscape.
FIELD ORIENTATED BY PROGRAM
a pragmatic field condition.
with the use of light and projections, the blank west wall can
become an adaptable and iconic event space. this type of
performance can reach out to the community in many forms.
a venue for community members to empower themselves.
a place to express ideas and create conversations.
a space flexible enough for all types of performances, making
beau bien a venue that can inspire culture.
a framework that lends itself to the public. an architecture that is
subtle, to allow for the community to create the richness
the identity of detroit is embedded into the design
process as well as the architecture.
project |
the miller hull partnership llp internship
time |
june, 2012 - september, 2012
location |
seattle, wa
main Ideas |
summer internship
sustainable design
public architecture
professional experience
description |
the miller hull partnershipâ&#x20AC;&#x2122;s design reputation is based on
simple, innovative and authentic designs. since its inception
in 1977 the firm has pursued a rigorous logic in its design
approach in the belief that architectural programs are best
solved directly and efficiently. throughout the firmâ&#x20AC;&#x2122;s history
miller hull has received over 200 design awards and has been
published in numerous national and foreign design journals.
[from miller hullâ&#x20AC;&#x2122;s website]
intern coordinator |
mike jobes
achievements |
i was able to work closely with mike jobes [partner] and
mark johnson [architect] on the schematic design for a fire
interpretive center in entiat, washington. i worked on the
graphic drawings and the final presentation layout for the
proposal. along with that project, i worked on a wide variety
of projects at various scales. i was fortunate to have a few of
the renderings, diagrams, and models that i did for the firm
exhibited in a few architectural galleries in the city.
forty six | forty seven
[RIGHT] these were some guiding diagrams for the
house of the immediate future, a project in collaboration
with habitat for humanity.
[BOTH PAGES] a proposal for the interpretive center in entiat,
washington. the rendering shows the glow of the vitrines in
contrast with the charred boards within the gallery space.
resume
EDUCATION | university of oregon
school of architecture and allied arts
EXPERIENCE | the miller hull partnership llp | architectural internship |
6/2012-9/2012
during the internship in seattle, i worked with many teams
bachelors of architecture, 2013
on various projects. worked closely with a partner on the
minor in architectural history
schematic design for an interpretive center. put together the
entire presentation proposal for the project. on other projects,
8 architectural studios completed
i worked on renderings, diagrams, models, and presentation
2 commends
layouts. in the duration of my time at miller hull, i was fortunate
to exhibit my work at multiple galleries throughout the city.
cumulative gpa of 3.00
HOPES [19] - pr director + student groups director |
study abroad in vancouver, british columbia
environmental design collaborative | 9/2012-4/2012
emily carr university of art + design
with a group of dedicated friends, we lead the annual HOPES
conference at the university of oregon. the first student lead
notable courses
ecological design conference in the country. the conference
building construction, environmental control systems I & II, structural
is titled collaborative futures. the conference asks to foster
behavior I & II wood and steel building systems, building enclosures,
newly shared approaches through collaborative thinking.
kinetic architecture
designbridge + sustainable cities initiative | design/build |
9/2011-6/2012
SKILLS | programs
with a group of students from multi-disciplines, ranging from
rhinoceros
architecture, landscape architecture, and artists, we designed
vray
a stormwater demonstration pavillion for the city of springfield.
grasshopper
we are currently awaiting construction with the project. in the
final cut pro
meantime we are doing construction on other various other
adobe cs6 creative suite
build projects with designbridge.
autocad
multiframe
university of oregon facilities services |
sketchup, idx renditioner
design team | 6/2011-current
softimage
this position allows me to work concurrently with my studies
solidworks
of architecture at the university of oregon. my duties include
maintaining the digital architectural drawings of the university.
modeling
quick sketch models
architectural studio teaching assistant | university of oregon
site models
| 9/2011-12/2011
model bases
final presentation models
zgf architects | job shadow | 1/2008-2/2008
golden hardwood floors | construction | 6/2009-10/2009
my tasks with this hardwood construction company involved
wood cutting, installation, sanding, and applying finishes. this
type of work is vigorous and requires patience, awareness, and
a keen eye.
fifty | fifty one
contact
email | minhkhoa@uoregon.edu
telephone | [510] 508-1695
â&#x20AC;&#x153;architecture should be concerned with insights and
understanding, and above all with truth.â&#x20AC;?
- peter zumthor
[RIGHT] my studio space while studying abroad in
vancouver, british columbia.